I’m excited to share this post from Marilyn McCabe, announcing her newly published video chapbook, She Quits the Garden.
Marilyn had shared these poems with the Boiler House Poets Collective at one of our residencies at MASS MoCA before their remarkable transformation into a multivoice video chapbook. Enjoy!
I am pleased and excited to share the link to the latest quarterly issue of Wilderness House Literary Review, which features five of my poems. Many thanks to poetry editor Ravi Yelamanchili and the whole team at WHLR for including me in their spring issue. If you are reading this in Spring, 2022, you can access the current issue at the link above; scroll down to the Poetry section to find Joanne Corey in the list of poets and click, which will take you to my work. If it is beyond that, you can find the issue through the cumulative index as Volume 17.1 – Spring 2022. While you are there, browse the WHLR archive for poetry, essays, art, fiction, and book reviews going back to Spring 2006. You’re sure to find something that will fascinate and delight you!
I thought I’d use this post to give some background on the poems and submission process. As folks who have been following Top of JC’s Mind for a while know, the last few years have been challenging for me as my family navigated the difficult last years of B’s mom and my parents, as well as the joy of welcoming a new generation to our family coupled with the complications of having them live across an ocean from us with the pandemic adding another layer of stress.
Because of all that, I was sandwiching in writing in a rather haphazard way and not concentrating on submissions. When I did begin making myself do the fraught work of preparing submissions, I concentrated on sending out my chapbook and collection manuscripts rather than journal submissions. Usually, a goodly number of poems in a manuscript have already been published in journals and I knew that I needed to get individual poems published as journal publications are the backbone of sharing poetry. Knowing that I was struggling with doing journal submissions, my wise poet-friend Merrill Oliver Douglas counseled me to choose five poems that I liked and send them out to a bunch of journals without stressing over style or if the poems related to each other or any of the other things that were keeping me paralyzed. I did that in early February. I chose to submit to WHLR because they were one of the first journals to publish my work back in Fall, 2015, just as I was getting more deliberate about publishing my poetry and just before we entered into our intensive phase with elder care. I thought there might be one or two of the five that would interest them but I was shocked and amazed that they accepted all five. (Being a good poetry citizen, I immediately withdrew the poems from all other journals to which I had submitted them.)
The rest of this post will give some of the background to the poems. You can choose to read them first, using the links in the first paragraph, or read the rest of the post first and the poems afterwards. I’ll write about the poems in the order in which they appear.
Starting off with a trigger warning, especially for family and friends who may not be ready to read “We probably should have taken off”, which is about the death of my father, known here as Paco. I wrote the first draft in the middle of the night while I was at the Boiler House Poets Collective residency only a couple of weeks after Paco’s death and workshopped it there. I did revisions and workshopped it again with the Grapevine Poets in October – and then couldn’t bear to look at it again for several months. I did the final edits in order to send it out this winter because I knew from the reaction of the poets who had seen the drafts that it was a strong poem. It’s sometimes hard for me to tell objectively when something is strong if it is also close to me emotionally. I had originally written this poem by hand in a journal and tried to replicate the spacing I had used when I put it into the computer. The use of white space seemed to fit the mood of the poem and is a frequently employed device in contemporary poetry, although some online journals advise against it because it can be hard to replicate in their publishing software. My original rendition is probably even “spacier” than the published version due to being on a larger page.
“Sprague Suite” is an ekphrastic poem based on the exhibit Transition: Decade of Decision, Sprague Electric>>MASS MoCA, 1989-1999 by Christopher Gillooly, which was on display there in 2018. When I was at our Boiler House residency that year, I felt as if it was my second home. I was drawn to it because it told the history of the former industrial site which is now home to the Massachusetts Museum of Contemporary Art. I am from the North Adams area, so I also have a personal perspective on that history. The six sections of “Sprague Suite” relate to Sprague Electric, which occupied the site for several decades until 1986, manufacturing capacitors. For fun, I also played a bit with form in this poem. Sections I and VI are haiku and II and V are tanka. III and IV are my go-to, free verse. “Industrial Buddha”, the title of section V, is the name of a collage sculpture of found objects that was part of the exhibit. This poem is part of my full-length poetry collection which is currently submitted to several contests and publishers.
“In my purse” began as a Binghamton Poetry Project prompt in fall of 2020. We were studying list poems and the power of juxtaposition. I’m a fan of list poems and had written several previously. When we write from prompts, we only have about ten minutes to draft, so the poems tend to be relatively short. There is also so little time to plan or ponder that words often fall onto the page in unexpected ways, which is perfect for a list poem where juxtaposition is everything. Thinking this quickly-generated draft had potential, I decided to workshop it with Grapevine and revise it to send out to journals. I’m so happy it has found a home at Wilderness House Literary Review!
“Zoom Wedding – October 4, 2020” also began as a Binghamton Poetry Project prompt in summer 2020. We were to begin a poem with a line from Ocean Vuong’s searing “Aubade with Burning City” about the final evacuation from Saigon in 1975. We were, however, to take our poem in a different direction. I chose the line, “He fills a teacup with champagne, brings it to her lips.” Given that we were then in the early months of the pandemic with public health rules making large gatherings impossible, I recast the line to open the story of a couple forced to cancel a long-planned June wedding and instead hold it in October via Zoom, which, for future readers who might see this after Zoom has been merged, renamed, or supplanted by newer technologies, is a video conferencing platform that gained ascendency when everything from business meetings to church services to family gatherings had to be cancelled or held virtually instead of in person. I began the draft during our BPP session and finished it the next day. I workshopped it with the Grapevine Poets, but then set it aside. I made some revisions in order to send it out this winter. I wasn’t sure if it would appeal to anyone as most people are trying to move beyond the pandemic, even though it hasn’t ended. Thankfully, with vaccines and treatments available, in-person gatherings are much safer in 2022 than they were in 2020.
“Monroe Bridge Mail” was drafted in May 2021 as I prepared to go on a private writing retreat back to North Adams to finish the manuscript which I referenced in the “Sprague Suite” section above. While I went to high school in North Adams, my actual hometown is Monroe Bridge, then home to about two hundred people, about twenty miles distant. I wanted to have some more Monroe Bridge poems in the collection, so I wrote this about our post office. I chose to employ a more conversational, storyteller mode, with long sentences and asides. It is a lot of fun to read aloud, which I had the opportunity to do at the Vestal Museum last summer.
Whew! Long post. If you have made it this far, thank you and congratulations! Please feel free to comment below. I love to know what people are thinking about my poems and/or posts.
I sometimes write poems in response to the Ekphrastic Challenge prompts from The Ekphrastic Review. I have been honored to have my poems chosen for publication on a few occasions and have taken to publishing the ones that were not chosen here at Top of JC’s Mind.
Just up today are responses to the Nebra Sky Disk, including one by my friend and fellow Boiler House Poets Collective member, Kyle Laws. You can see the artwork and the chosen responses here. My poem follows. As always, comments are welcome.
Nebra Sky Disk
Who buried you,
hid you from the sun,
as if the earth
could dim your essence?
Did they seek
with soil and swords and hatchets
to protect you from marauders
who might take you away,
where your arcs would not
be wedded to the sun?
They could not know
the buried centuries,
of damage by looters,
of clandestine sales,
your glory hoarded.
Finally brought back to light,
to the descendents of your people,
your gold shining their place beneath
the burnished sky.
I’m excited to share with you a newly published videopoem from the Boiler House Poets Collective! We worked on the poem itself during our residency last fall with the marvelous Marilyn McCabe designing and producing the video. Many thanks to Masque and Spectacle Journal for publishing it.
This is an exquisite corpse poem, which is a technique for composing a poem with a group. One poet writes a line. The second writes a line following it and folds the paper so that only that line is showing. Each subsequent poet follows suit, only seeing the last line added. With eight poets, we did two rounds, generating this 16 line poem. The visual element was taken from our beloved namesake, the Boiler House at MASS MoCA. Enjoy!
“Avalon” is an exquisite corpse composition from a group of poets in residency at the Massachusetts Museum of Contemporary Art, where the video images were also taken.
The Boiler House Poets meet every fall at the Massachusetts Museum of Contemporary Art for a weeklong residency to develop work individually and as a group. They are: Joanne Corey, Marilyn McCabe, Ann Dernier, Gail DiMaggio, Jessica Dubey, Kyle Laws, Katherine Morgan, Erica Bodwell. All have published poems in literary magazines and/or as collections through a variety of poetry presses. Video producer Marilyn McCabe’s videos have appeared in literary magazines, film festivals, and galleries: MarilynOnaRoll.wordpress.com.
Sometimes, when I haven’t written a poem in a while, I try to write tanka, which is a Japanese form that, when executed in English, is 31 syllables in 5 lines with a turn at the fourth line.
At other times, I will use a prompt to get me started. These can be written specifically as prompts or can be other works of art which serves as a springboard. Poems that are responses to artwork are known as ekphrastic poems. I write them relatively often because I have been part of the Boiler House Poets Collective since 2015. During our residencies at the Massachusetts Museum of Contemporary Art, we often write ekphrastic work with most of us choosing to do this throughout the year.
One of my Boiler House poet-friends, Kyle Laws, introduced me to the Ekphrastic Writing Challenges from The Ekphrastic Review. I have been fortunate to have had several poems of my poems appear as selected response to challenges.
Earlier this month, I submitted a tanka in response to this challenge, the painting Blind Girl Reading, by Ejnar Nielsen (Denmark) 1905. You can see the painting at the link, as well as read the selected poems and short fiction in response.
While my poem was not chosen, I thought I’d share it here:
In darkness, pale fingers
glide over pages bound
heavy in her lap –
the only light, electric
impulse from fingers to mind.
Comments are welcome, if you are so moved. (There’s nothing like writing a six paragraph post to present a five line poem!)
Join us for Linda’s Just Jot It January! Find out more here: https://lindaghill.com/2022/01/28/daily-prompt-jusjojan-the-28th-2022/
I’m excited to share pre-order news for two forthcoming chapbooks by Boiler House Poets Collective members through Finishing Line Press. It was my privilege to be involved in manuscript reviews with the poets for both chapbooks, so I know firsthand that they are fantastic!
Girl, Woman, Bird by Katherine (Kay) Morgan encompasses personal and national history and the natural world, especially birds. Kay also shares her gift for ekphrastic poems in this chapbook, as one might expect from one of the original Boiler House poets who met during a residency at the Massachusetts Museum of Contemporary Art, although the art that invokes these poems is not all contemporary. Girl, Woman, Bird is available for pre-order now and will begin to ship on March 18th.
For Dear Life by Jessica Dubey reflects on the impacts of her husband’s brain surgery and recovery on their lives. Besides being a member of Boiler House, Jessica is also part of my local poetry workshop, the Grapevine Group, so I was able to witness the creation of this chapbook poem by poem. Jessica’s ability to take us through such difficult terrain is stunning. For Dear Life may be ordered now for shipment beginning May 13.
Check out the links for additional information and ordering. I already have my orders in for both!
Join us for Linda’s Just Jot It January! Find out more here: https://lindaghill.com/2022/01/16/daily-prompt-jusjojan-the-16th-2022/
If only I could organize my days…
is something I have been saying to myself off and on for years.
The truth is that most of my adult life has been spent as a caregiver, some of it in very challenging situations dealing with long-term illnesses.
Not the kind of life that lends itself to following a daily schedule. If you ever think you know what is happening on a given day, chances are the phone will ring in the morning and you will be off dealing with some need that has arisen.
Let me be clear that none of this is a complaint. Rather it’s just a statement of fact – and evidence that I was privileged enough to be able to choose a life of unpaid caregiving instead of needing to take paid work and cramming in the caregiving around my employer’s schedule.
The day after Paco’s death, the hospice social worker said to me that now I could figure out what I wanted to do. We had first met during my mother’s illness, so she had some idea of what my life has been like over at least the last few years, if not decades.
While it’s true that I have spouse B and daughter T at home, we are able to collaborate on taking care of the house and each other, so the years of intensive caregiving are probably over for a while, as long as we all remain reasonably healthy.
So, I’m starting to piece together how I want to spend my time in the coming months. Admittedly, right now I am necessarily busy with settling Paco’s estate and final bills and insurance claims and such, which takes a lot more time and energy than you might think if you have never had to do this for a loved one.
I’m trying to keep from jumping back into everything I have put on hold in the past because I think there is a danger of over-committing and exhaustion. I do know that I want to spend more time with writing, so, perhaps, finally regularly posting here again.
I also need to return to spending serious amounts of time with my poetry. During the recent Boiler House Poets Collective residency, I was able to re-connect with my full-length manuscript that revolves around that area and my family’s connections with it. I am going to do a review of it with the Grapevine Group, my local poetry circle, later this month and then do revisions and look for submissions opportunities. I also need to look for more opportunities for my chapbook, as the rejections have been rolling in over these last months so it is only out at a few places at the moment.
I am considering auditioning for a local chorus, although that might not be until after the holidays. I expect that, for the first time in many years, we may travel for both Thanksgiving and Christmas.
I am staying in the loop but not spending a ton of time on environmental and political issues. I still send letters and do public comment on social justice and environmental causes and send emails to my elected representatives but I am trying not to spend hours every day on it, as I did for years during the height of the anti-fracking fight in New York. I admire the energy and commitment of today’s younger activists and support their efforts as best I can.
Church volunteering is still on hold. Eventually, the book study I facilitate may return but only if we can meet safely indoors unmasked. We aren’t there yet.
So, can I do this? Can I re-organize my life and have it stick?
If nothing dire happens…
Linda’s prompt for Stream of Consciousness Saturday this week was to being the post with the word if. Join us! Find out more here: https://lindaghill.com/2021/10/15/the-friday-reminder-and-prompt-for-socs-october-16-2021/
Today is the last full day of the Boiler House Poets Collective reunion residency for 2021. It’s always amazing to be back here at MASS MoCA together but the experience is heightened after having to cancel because of COVID last year.
I am in the same studio as I was in the Tupelo Press workshop/residency that first brought us together in 2015. As I was looking back at my blog to get the exact dates of that residency, I decided to re-visit all the posts from back then. I was surprised that I processed as much as I did at the time, while realizing how much I had downplayed the amount of confusion and fear I was feeling.
If anyone is so moved to join me in this walk down memory lane, the posts start here.
Things have been pretty quiet here at Top of JC’s Mind for the past few days because I was back in North Adams on a solo writing retreat to work on my poetry collection.
I’m happy to report that I have the bulk of the manuscript assembled, including a few pieces that I wrote this week. There is only one blank page with just a title; I’m hoping to get that poem written and integrated into the manuscript over the holiday weekend. I also need to write a foreword and a notes and acknowledgements section at the end. When I have the draft complete, I will ask my local poetry circle, the Grapevine Group, to do a group review/critique for me, with the goal of having it ready to submit by mid-July.
This collection has been in development for a looooong time. In November, 2015, I took a leap of faith and applied to attend a week-long workshop/residency at the Massachusetts Museum of Contemporary Art, a collaboration between The Studios at MASS MoCA, which had, at the time, only been in operation for a few weeks, and Tupelo Press under the direction of Jeffrey Levine. I was accepted, even though I was a relatively new poet at that point. Had it not been in that particular place, I would not have even applied, but I grew up in the North Adams area and had hopes that a chapbook might grow out of the experience, given the intersection of my personal and family history with the current, very different reality there. Case in point: MASS MoCA occupies the complex that housed Sprague Electric when I was growing up but that started out as Arnold Print Works that made textiles. (If you are interested in how the week went, you can check my blog archive for Nov. 2015, as I blogged every day of the residency.)
Short version of the story is that I was in way over my head, but was saved from going under by my fellow poets. We all bonded so well that we have returned to MASS MoCA every year (except for 2020 due to the pandemic) for a reunion residency as the Boiler House Poets Collective.
So, two things happened to my initial idea of writing a chapbook about my family and the North Adams area. I realized pretty quickly that a chapbook would be too short, so it would need to be a collection. Also, life intervened in the form of a long and ongoing period of inter-generational caregiving, which made the time required to devote myself to the project scarce.
There have been two other attempts at this collection, both of which failed miserably in review. I learned a lot from the failures – at least, I hope I have – and this new iteration of the manuscript has a (I hope) more compelling focus.
We’ll see how manuscript review goes…
There are over fifty poems in the collection and over seventy pages, so there is room for cuts if needed. Most publishers expect collections to be between fifty and one hundred pages, so there is some space for adjustment.
While members of the Grapevine Group have seen a lot of the individual poems, this will be the first time they have seen the manuscript. The two prior iterations of the collection were with Boiler House Poets Collective, back before Grapevine started doing manuscript reviews within the group. The exception is my friend Jessica, who is a member of both groups. It will be especially interesting to see her reaction to this newest iteration.
After Grapevine review and edits, I may see if any other BHPC poets want to weigh in – or maybe even before, if any of them are especially keen on the concept/subject to my begging/gluttons for punishment/very bored.
At any rate, come mid-summer, I’m hoping to start doing submissions with the collection. Then, in the fall and winter, the rejections will start rolling in, where they can join the growing list of rejections for my chapbook manuscript in my submission database.
Eventually, one of them may make it into print. The chapbook has been both a semi-finalist and finalist in contests. So, someday?
This version of the collection is definitely stronger than the two prior attempts. So, maybe, someday?
If it happens, you will definitely be able to read about it at Top of JC’s Mind, which will probably be around even though it is cheugy. I just learned that word…
Or, if the chapbook or collection gets accepted for publication, you may just be able to hear me scream, even if you are not close by. 😉
Linda’s prompt for Stream of Consciousness Saturday this week is “collect.” Join us! Find out more here: https://lindaghill.com/2021/05/28/the-friday-reminder-and-prompt-for-socs-may-29-2021/
I have been posting about the Broome County (NY) Arts Council’s celebration of poetry, including last week’s reading in which I was featured. This week’s installment is now available and can be found here, along with the prior weeks’ readings.
This week features three of my local poet-friends, Jessica Dubey, Burt Myers, and J. Barrett Wolf, along with Ithaca-area poet and professor Jerry Mirskin.
Jessica, Burt, and Barrett are all part of the Grapevine Group, the poetry circle with which I meet regularly to workshop poems. Burt is the one among us who writes formal poetry most often. He is very attuned to the rhymes and rhythms of lines, which you can hear in the reading and which is helpful to me when we are workshopping because I am not very conscious of those elements when I write.
Barrett, as poet-in-residence at the Bundy Museum and the founder of The Word Place, is one of the sponsors of this reading series and has appeared in each session to ask the poets questions after they read. It was wonderful to hear him read some of his work this week. I was glad that the other poets got to ask him some questions after his reading because I love hearing poets talk about their work and it would have been a shame if they had skipped over that part.
I’m happy to say that Jessica and I share not only Grapevine Group but also the Binghamton Poetry Project and the Boiler House Poets Collective in common. Her poetry is brutally honest and searing. I also admire her use of metaphor. Her first chapbook will be published next year. I’ll be sure to post about it here when it is available for pre-order.
While April is almost over, the BCAC is carrying the reading series into May, so check back next week for the next installment.